Active Melody

Learn to play blues guitar.

Blues lead played across the fretboard using shapes from the C.A.G.E.D. System Guitar Lesson – EP631

Description

In this week’s guitar lesson, you’ll learn how to play a Blues lead in the key of C over a 1-4-5 chord progression by visualizing the chord shapes from The CAGED System and connecting the Major and Minor Pentatonic Scales to those shapes.

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Comments

    • naftali k says

      I have dreamt about learning to lay a blues exactly like the one in this lesson for more than 50 years. I wil have alittle spare time coming up and maybe I could get it well enough to keep working on it when i have les time.
      Nevertheless all lessons on showing how to use the caged system has helped me tremendously even without having the time to perfect evry one of Brian’s beautiful, creative pieces.
      RNK

  3. Brendan G says

    This is fantastic lesson Brain.
    I only found out recently that you have a course on the website for the CAGED System. Which is great.
    So between that course and these group of lessons I am starting to really understand the fretboard.

    Thanks again Brain.

    • Michael Krailo says

      It can be confusing for sure, the way I think about it is always from the root in intervals. That’s really the key to all scales. From any root note, the major pentatonic will always ascend 1 2 3–5 6–1. That’s my way of showing W W m3 W m3 interval spacing. It’s very easy to see this on one string, but some folks have trouble with visualizing whole and minor 3rd steps across strings, but this is a very important skill to master. Do whatever it takes to start recognizing how those intervals look like across strings for both major and minor scales or really any scale.

      A major pentatonic interval ascending from the root (pinky) across strings looks like a minor 3rd interval except when crossing the G and B strings, but it’s just a whole step. So in this case the root C note is on the pinky at the 8th fret on the low E string. Brian’s point is that you can link the G shape of whatever chord it is rooted on to the Major Pentatonic scale position #1. This also happens to be the Am pentatonic scale because Am is the relative minor of C major. The difference is landing or starting on C notes vice A notes when playing in Am pattern #1 (tonic is C).

      Later in the video, Brian shows the Cm pentatonic shape over the IV chord (F) as the pattern #5 shape. This makes more sense if you view the minor scale intervals directly as m3 W W m3 W. If you can do that, then it’s easier to see that pattern #5 uses exactly those intervals from the root C. It’s usually easier to slide up into pattern #1 from pattern #5 for the minor pentatonic, but Brian chose to stick within that area of the neck. Anytime you play minor pentatonic, you have the option of using the blue note and more importantly 1/4 bending those b3 notes. Knowing where they are is important to me, but obviously, the root is king.

      • Rob N says

        Yep, G shape = major pentatonic position 1/minor pentatonic position 5.

        As Torquil points out, an easy reminder is: whatever the major is the minor is 1 position below…and vice versa (if you know the minor position then the major will be 1 above). Of course, this ‘trick’ requires that you know at least one of the positions, but most people know minor position 1.

        Confusion sometimes occurs because the CAGED shapes ‘overlap’. As Brian discusses in Video 2, ‘a D shape is actually also a C shape’ Similarly, the A shape is also present in the G shape. They overlap as the CAGED structure moves up the fretboard.

        Michael’s approach is more in depth – less about pattern recognition and more about actually understanding scale composition and the relationship of each note/interval.

    • James W says

      Right. Since we are in the key of C, you can slide down 3 frets and play pattern 1 (E shape). You’re in the A minor pentatonic first position, which has the same notes as the C major pentatonic. Am is the relative minor of C major.

    • Torquil O says

      GEDCA (high school degree in California) is my pneumonic. Associate those 5 shapes with “major” patterns 12345. Associate the “minor” patterns to those shapes one step behind. Eg; G is 5; E is 1; D is 2 etc. start at the root of each shape to get it

  7. Mike R says

    Really like the this series regarding the Caged system and the others you have done also. I am learning a lot from them. Great blues sound from all these progressions. Please keep them coming.

  8. Raymond U says

    Excellent lesson, just the right pace throughout. Love how you bring the melody out through the phrasing. Maybe consider a future lesson on phrasing and how you think when tying it to the backing track?

  9. Michael W says

    Great lesson, great series and great teaching. I totally understand everything that is happening. You couldn’t make it any clearer yet, for me, moving from understanding to executing is an agonizingly slow process. May determination prevail.

    • Brian says

      can you elaborate? “different scale patterns” is way too vague. with over 700 lessons i’ve surely covered every option… but let me know what you’re looking for specifically and maybe i can point to something

  11. Daniel H says

    Great lesson … but a bit long.
    My take away is know the neighboring scale patterns of a chord shape, not just the scale pattern associated with the cord shape. Also, knowing the minor scale pattern as well the major scale pattern for each shape and knowing it without hesitation. This lesson has driven home the importance of having these associations automatically retrievable for improvising. I have fallen into the trap of just thinking in silos (C-A-G-E-D) and not including the next door neighbors. But thanks to your guidance Brian, I am getting better.

    Also, as you move through a I-IV-V you appear to think more in terms of licks whose origin is from a particular scale rather than the scale pattern itself. It would be nice to see a series of micro lessons that help us do this… even though i am aware you do this in many, if not all your lessons lol. It just seems to be a real challenge for me. I’m happy if I can recall the appropriate scale pattern!

    This was a big lesson! … Like drinking from a firehose. I really appreciate your ML’s. Seeing an ML on Saturday morning, rather than an EP, usually evokes a “oh thank god” reaction! But either way, I am grateful for the incredible learning opportunity you provide!

  13. Jim Dog says

    Great lesson. It tied the previous lessons together. I love Active Melody! However, my biggest frustration is I often feel that the consecutive lessons jump around between topics. When there are a series of lessons that sequentially build on each other, it’s huge. Otherwise, I have to piece together old lessons to focus on one area I’m trying to learn. I prefer more structure and continuity. I can’t wait to see what next week brings. Thanks Brian.

  14. Lyn C says

    Wow.. lots of helpful info here.. finally starting to understand how to improvise. The info on each shape in the microlessons was the start of understanding the fretboard better. Up to now I had just been trying to learn pentatonic scales, but had no idea how to put them together. Thanks Brian.

  16. Scott L says

    Thanks Brian,
    Like a lot of others, this series on playing the blues in each of the CAGED shapes individually has been a cluster of light bulb moments. I think my understanding of the shapes and how they fit together has improved vastly over the last few weeks. I find it much easier to learn the ideas now because it’s less memorization and more understanding why we’re playing where we are on the fretboard. I’m always eager to see what’s new on Fridays but the interest has definitely been peaked even higher lately. Awesome lesson(s)!

  18. houliAK says

    So many great take-a-ways! I’ll simply say my two favorite moves or licks are the last lick of part 1 and the first lick of part 2 (B kick off). You do such a great job of explaning where and why all the licks come from and why they work.

  20. Guy H says

    This is the “pay off” lesson, awesome series of blues lessons, it so organized the past 6 years for me. A few of these across the fret board blues lessons will really hit home. The chord structure and the flat 7 s are fully ingrained; I feel confident in going to any region. It is funny, beyond the straight fwd minor & major pentatonic scales; I still need more time & exposure to just let my fingers dance on solos, I am starting to be able to reproduce the sounds I’m looking for, regardless of the exact scale, I think this is where it is ultimately at, be able to generate the sounds you want during licks & solos.

    Have you ever considered doing a Jazz sequence like you did the blues? That would seem enjoyable!

    Thanks for the great lessons.

    Guy

  21. Kenneth p says

    Brian, this would be a great time to direct everyone to the lesson on CAGED, where you did a PDF file that showed Major, Dom.7 and Minor, and all scales and patterns for each of the 5 Caged shapes, I printed them out and it is a great help for me.

  22. Bruce G says

    Really great lesson again!

    The biggest “aha” for me is the scale formula you have introduced over the past several lessons (or perhaps I missed this from the past)– major pentatonic for the I chord (of the key), minor pentatonic for the IV chord (of the key), and minor pentatonic OF THE V chord for the V. That really helped me sort things out. My ramblings over the chord progression are starting to sound much better—with the focus as well on the flat 7’s along with 1,3,5 chord tones.

    The other piece that helps is finding the chord tones in the chord shapes–not entirely new, but applying it here with the scale pattern “formula” has been a breakthrough.

    I feel like the next step is to somehow figure out how to remember the various licks and build a “lick library” in my head…that still feels like a mountain I need to climb!

  23. daniel M says

    I agree with Bruce , becoming more aware of the flat 7th and major and minor 3rd’s are really helpful. Your course concentration interspersed with other interests keeps us coming back for more.

  24. rickwallenbrock says

    Thanks Brian. Great lesson to pull all this together. BUT, I am a little confused. At around 11:30 (first video) you say “where is my nearest C minor pentatonic scale (following your set up in which you say play the minor pentatonic of the key of the song when you play the IV chord). You play the 5 shape of C. That is right if we are in the G Shape which uses the 1 shape for the major and the 5 shape for the minor.. But I am thinking aren’t we in the C shape when playing the F (IV) chord? And in the C shape I should play the 3 minor shape not the 5 minor shape. I haven’t watched part 2 yet so this might become clearer. From the ear perspective, both shapes sound good though

  25. rickwallenbrock says

    So I worked on this and realized that I am playing the 3 major pentatonic shape of the F chord and not the minor pentatonic scale of the key of the song – C. It sounds close as the 3 shape of F shares many of the same notes as the 5 shape of C. this is a bit of a head spinner for an old guy like me but if I can get this down it is the real key to improvising especially beyond just playing the the 5 shapes of just the key of the song.

  26. John I says

    So much to unpack here in the dénouement of the series. A brilliant set of lessons on the caged system that explain and demonstrate it all so well with a real application. Thanks, Brian!!

  27. Steve says

    Great lesson, really building up on familiarity, those transitions are most commonly 2,5,1 or 4,1, its worth going around the circle of fifths to really unlock that transition anywhere

  28. MilesKane says

    Hi Brian, i’ve been watching and mastering many of your videos for over a decade. Can you please please do a Ronnie Earl inspired lesson? You have taught me so much that I have to use when I play and I have nothing but gratitude for your hard work and how much effort you put into your lessons. Please please do a Ronnie Earl inspired video. He’s my hero and I know him personally,
    I think it will benefit other students that are on your channel. He’s all soul and what he plays comes from deep within his gut.
    Please 🙏🏻 🤞🏻🎸🎶

    Mike Kane
    203-570-0541

  32. Rob S says

    Another excellent lesson that ties the prior MLs together beautifully. If I just worked on the previous MLs and this lesson and truly nailed all the licks so that they are second nature for each of their related I, IV, V chords, I’d be all set to jam in any key with enough licks to keep it interesting. Every lesson reinforces the backbone of CAGED and their related scales beautifully with very satisfying licks. Thank you again for bringing it all together for us Brian!

  33. bruce e says

    bruce from hawaii here i love this hole caged series that your doing and this lesson is topping it off so mant lightbulbs went off extremely valuable for improvising rythem and lead all over the neck THANK YOU

  34. Carole M says

    Morning Brian,

    Once again you’ve knocked the ball right out of the park with this EP631.
    So more of those lessons are welcomed. I feel I’m slowly but surely, improving my skills, thanks to you. A day doesn’t go by without me having a go at practicing, strumming along on some tunes. If so, the day’s not complete.

    Have a nice day.

    Regards,
    Eric

  35. Gerald W says

    An excellent lesson. My only query is that I am not sure what you are playing at the end of bar 17. According to the TAB it shows 2F played simultaneously on frets 10 & 15, which is a bit of a stretch and in the video I can see no sign of that – thanks.

  38. Chris H says

    Brian great lesson. This format is the most practical lesson on linking the CAGE system and allowed me to
    see the patterns better than any before! Please keep more like this in coming….

  41. Peter E says

    Extremely useful for understanding how to blend my use of the “neighborhoods” on the fretboard.
    Question: Does this lesson teach us that if you are using a particular CAGED shape for a chord in your song, then you can use the pentatonic scale notes that correspond to that shape? For example, if you are playing a “C” chord using the G Shape, then you can play over that chord using the pentatonic scale pattern that is based on the G shape (i.e., position one), in the Key of “C Major”, and same for minor keys?
    I think I’m close, but I’d appreciate someone commenting! Thanks in advance.

  42. Vernon says

    Loved the G minor pentatonic scale pattern 3 over the Dominant 7, 5 chord. Awesome. Lightbulbs!! And….cool using pattern 3 in a blues context. I’m sure it happens, but not as often. At least in my experience. Thanks Brian!

  43. Jake W says

    These CAGED system blues lessons have improved my playing so much! Pulling it all together in this lesson has opened up my ability to move around the fretboard. Great stuff as always!

  44. G D says

    Brian, just wanted to let you know that this lesson and the ‘Shape series’ you just did has sparked what I’d call a lighthouse, rather then a lightbulb moment for me in regards understanding the fretboard, scales, both minor and major pentatonic, as well as major scales etc….. not only in how they reate to each other but also in how they relate to the ‘shape’ of the chord I’m using in the context of the caged system…! And in how the ‘scale shape patterns’ move up and down the neck exactly mirroring how the ‘CAGED system’ moves up and down the neck. And how you can literally just ‘spell’ CAGED, in both directions and then fit or find all of the scales related patterns within those ‘letter areas’…! I’ve been a member for a year and a half now, and while I’ve been loving learning and enhancing my techniques and guitar vocabulary via learning to just play your compostions, this is truly the musical theory and guitar understanding breakthrough that I’ve been longer for my whole life of playing. Apologies, but I may post this same feedback in a few lessons as I really want you to receive and feel the credit for your awesome teaching method which has given me this gift. So, from across the ocean in Ireland, thank you so very much. Keep doing what you do!

  46. Jeff B says

    Well done Brian. This lesson ties up a few loose ends on my blues playing. The timing of your lesson corresponded to a newly acquired 2010 Gibson ES Custom Shop 339. It is basically a scaled down version of my 335 which has become kinda heavy for my aging back. The 339 weighs only 6.2 pounds. I highly recommend it for the ease of playing while maintaining the 335 sound. You have done an excellent job teaching the CAGED system – attempted by many instructors but mastered by few. You have mastered it.

  47. Steven P says

    Fantastic stuff Brian thanks so much for this! I had taken myself “away” to learn the CAGED system and the major and minor and blues scales and I have just about got them under my fingers but I was struggling to make them sound more like music and less like scales practice – a problem I have in common with a lot of other folk I’m guessing!
    Also combining the use of major and minor scales in one piece wasn’t working for me .
    EP 631 is like my magic key to watching and understanding all these scales in practice in a blues tune rather than as scale “drills”.
    Its just like you say, understanding how the CAGED system structures the notes and intervals is really the way to go! Yes there’s a lot to assimilate but you’ve really laid it out with your CAGED micro lessons and now EP631 – really great so thanks again!

  48. Michael S says

    Thank you for this (and many years) of insightful lessons. Have a question about the 1/4/5 progressions. When playing a phrase from a scale in key of C with C major pentatonic over the 1, C minor over the 4, and G minor over the 5 chord and want to target a specific note of the scale, for example the 3rd or the 5th, is it always the 3rd or 5th of the major scale regardless if the scale is minor or pentatonic?

  49. MICHAEL B says

    Ok so I’m a little late to the party but this lesson convinced me to go back to ML 129 and work through each part. I’m the guy that says “oh I don’t need that” and moves on and now I realize I DO need this and so I “regress to progress” lol. Thanks for the cool examples and riffs to enhance the learning process. For most of us, give us a song to play and we’ll learn as we play. Great stuff Brian, thanks so much

  50. Lesley O says

    Wow! So much content here to digest and have fun with. I too have gone back over ML 129 and the previous CAGED lessons. Little by little it is making sense and I am learning new ideas that I can use myself, as well as having fun just learning the piece…..which is great by the way!
    I find the répétion and re-inforcement so useful. Thankyou Brian!

  52. Dennis F says

    As I’ve progressed over the years, I sometimes have a tendency to scan a new lesson here and think, “I know this stuff.” But I’ve learned that there is always one or two connections or chord shapes or substitutions in almost every lesson that I didn’t know before. And then I spend time hammering away at those items to try to make them part of my mental library. It’s been a very efficient and fun method to continue progressing. Thumbs up, Brian!

  53. Huub L says

    the best ever,,,,, ilove it ,,,, and i learn new things from you every time. Mister Brian ,this very special ,,,,,,,,,,the ml 129,131.132.133.134. and the CAGED.. waaauwwww Huub Luik

  60. Randolph H says

    Reviewing the lesson several times is more than helpful, often it’s necessary for me to fully understand the material. The blues is more profound than I had imagined, thanks to Brian’s lessions I’m increasing my understanding of this important music, so influential to rock, swing, bop and jazz.

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